Des lampes et des danseurs en révolution permanente
LE MONDE | 07.11.2013 | Par Rosita Boisseau
Avant même que le spectacle Quantum, cosigné par le plasticien Julius von Bismarck et le chorégraphe Gilles Jobin, ne débute, les quatre lampes industrielles planant sur le plateau du Théâtre de la Cité internationale, à Paris , commencent doucement à tourner sur elles-mêmes. Leur rotation va s’emballer , plus vite, plus loin, plus fort, jusqu’à ce qu’elles semblent tout bonnement prises de folie, comme vivant d’une vie propre et livrées à elles-mêmes.
Cette chorégraphie d’objets, qui par ailleurs servent aussi à éclairer la scène, joue au ping-pong avec celle de six danseurs. Les deux s’imbriquent de façon organique pour ne faire qu’une seule bulle de mouvements qui se réverbèrent les uns les autres. Inspiré par la physique des particules et né lors d’une longue résidence de travail dans le fameux laboratoire de physique du CERN, à Genève, Quantum ouvrait, lundi 4 novembre, l’opération « New Settings », qui se déroule jusqu’au 17 novembre, sous la houlette de la Fondation d’entreprise Hermès.
Cinq spectacles sont à l’affiche. Tous imbriquent la pratique plastique et chorégraphique. Créé au festival Montpellier Danse, en juin, Qu’est-ce qui nous arrive ? ! ?, de Mathilde Monnier et du dessinateur François Olislaeger, épatant coup de griffe graphique opéré par Olislaeger sur quinze danseurs amateurs, donne une profondeur élastique au plateau et aux corps. Il invente un concept de bande dessinée en direct et en trois dimensions, qui joue à l’accordéon entre trait et chair.
TEXTURE SERRÉE MAIS FLEXIBLE
L’exception de ce programme s’intitule Systema Occam, pièce pour cinq interprètes que signe seul le plasticien Xavier Veilhan. Autour d’une œuvre pour harpe de la compositrice contemporaine Eliane Radigue, Veilhan a troqué son geste monumental contre celui d’un Petit Poucet artisanal. Dans la pénombre, il égrène une série d’actions modestes – allumer des bougies, marcher en portant une sculpture sur la tête, jouer avec des cubes en tapant sur le plateau – pendant qu’un rameur actionne l’allumage de mini-tubes de néon blanc. Un rituel spectral entre amis qui ne manque pas de charme même s’il flirte avec la private joke.
En passant de la coquille Systema Occam à la constellation Quantum, on change d’échelle et de luminosité. Les perspectives ouvertes par la physique des particules à Gilles Jobin ont donné une texture nouvelle à sa danse. Serrée mais flexible, légère mais consistante, elle propulse un flux sans cesse redistribué dans un feuilleté de formes en mouvement permanent. Sur une musique épatante de Carla Scaletti, les circonvolutions se font douces et fascinantes.
QUANTUM, the piece created at Cern-CMS is now on tour. The piece has been adapted for frontal theatre vision. Julius Von Bismarck light installation as proven to be fabulous in total darkness of the stage. Carla Scaletti’s music has expressed all of its details with a great multi speaker diffusion. Jean-Paul Leapgnard’s original costumes have finally arrived. Here some photos of the piece for you to enjoy… Next date: Bonlieu Scène Nationale in ANNECY 14th of January 2014
I will hopefully restart writing on my blog as we are starting the rehersals of the new piece I will make for CERN open days and Théâtre Forum Meyrin in end of september. Stay tune for more info.
Seating will be limited, so if you want to make sure you have access, book through Forum Meyrin Theater: http://www.forum-meyrin.ch/univers/danse
Gilles Jobin’s residency at CERN as part of the Collide@CERN program is now finished. Please find here a sample of press articles commenting on this unique experience bringing together art and science.
Now that it all begins…
I write here some notes on my time in Cern. Not everything is there but some more details ideas…
When I first arrived at Cern, I was captivated by the place and overwhelmed by the hugeness of the subject: Partical physics… And I had some serious catch up to do… Impressed by the two introduction days in which I had the opportunity to meet many different scientists, Ariane Koeck told me “not to panic” and “to spend my first month following my instinct and not my head…”.
I followed her advice and started to grab some of the science that was being dealt with at Cern. I did not try to understand, but to get a “general feel” of what was around, it was better.
I found out about the 4 fundamental forces and the fact that gravity was the weakest of all the forces. For a contemporary dancer formed basically around the question of gravity and “groundness” that came as a total shock! I was not a “pile of stuff”, but particles bound together by the strong force and “floating” on the surface of the earth… Me, the earth, you readers, the LHC flying at incredible speed through space, without any of us, (including the physicists!) noticing anything… Stardust flying into space… I was baffled…
I started to realize that to understand the mechanic of our world you need so much objectivity… For an artist working practically exclusively on subjectivity, that was something! I learned that in art one can also apply that a principle must be coherent for itself, independently from the position of the observer… I started to understand how remarkable is the notion of a void full of energy and mysterious potential particles. I understoodd that elements of matter are bond by “non contact forces” and that if all the void was to be taken out of my body, I would become as 73kg grain of rice…
Many of the concepts I was about to discover during my residency would have a deep philosophical impact on the way I was considering the movement of a body in space…
Deconstruct and Scale
“Deconstruct and Scale”… It was the title of the talk that senior Cern theoretical physicists Luis Alvarez Gaume gave me during my introduction days. This mantra pursued me through my residency still is, and it seems to have given me one of the essential key to enter the world of physics: Look at things for what they are and at the scale in which they are.
Deconstruct and scale, it is what I do as a choreographer, I deconstruct (movement) and scale it… in size, in time, in space… Luis told me that if we were to be able to see everything on every scale at every moment, we would become crazy!… Even a car engineer drives the car he has conceived himself in the same way that a choreographer would drive it, he can not visualize the combustion process he conceived as he drives! He is in the scale of the driving.
At the time, I thought I had it and was feeling pretty confident about what was coming next… I spent some time inside my Cern office reading vulgarisation books ranging, from a great comic book on physicist’s Feynman’s life to Lawrence Kraus’s “A Universe from nothing – why there is something rather than nothing”…
But I needed to get real, go out and grab the space around me. Being a theorist and an experimentalist, I am a choreographer after all, I realized I had to get my body in motion and bring some physicality into physics… Time for some action…
When I did not know what to do, when I was lost in translation, I would go and meet my Inspirational Partner Joao Pequenao!
On the day of that photo we had a very interesting and stimulating discussion about magnetic fields that got me started on some practical experiments…
We are now into ideas involving motion capture with Kynecs and the Higgs field… Maybe a connection with the project I have of 3D movie in 2014… So more to come on that…
Looking out of the window of my office, I saw on the other side of the yard the Cern’s library… After visiting the library I imagined a quiet action for it. Talking with Ariane Koeck, she told me she was to offer me the library as a possible performing ground!
But what would be our motivation as dancers, our reason to be there physically during opening hours? How would we interact with the readers without disturbing space and time? I had to invent a fiction, some purpose… I imagined that we were “beings” on a journey from another dimension and passing through the library. Just like the angels in Wim Wenders’s “Wing Of Desire”, we would use the library as a resting place… We called ourselves “Strangels”, a contraction of “strange” and “angels”. It sounded like the name of a new particle, and I thought it was pretty cool. Our story was a bit of science fiction, but we had our reason to be there, our experiment could start, it was spring 2012…
My idea was to “melt” our bodies into the timeline of the library. Like time chameleons, we were to adapt our movements and presence to the quiet and studious atmosphere of the library and be practically unnoticed. My postulate was to imagine that the perception of time is relative; there was a special texture to “time” inside the library. How long is an afternoon in a library? Never ending or passing by too quickly? It is a shared space, with the unique density you can feel in studious atmosphere and its user’s different virtual timelines. We melted into the element of the library and as we guessed, our “unusual” presence and actions did not create conflicts with our surroundings and the students at work. It was a bit like entering slowly into water and becoming part of the element without disturbing its balance. The time hypothesis worked… I wanted to do more site specific interventions in Cern because I was learning things differently. Some understanding was going through my body. Being in action into the labs…
Summer came. The “Higgs like particle” was to be announced on the 4th of July in Cern, I did not expect it to be such an emotional event and was caught by surprise. On that day, Cern was buzzing, international press everywhere, restricted access, I managed to sneak in the press conference to see the real Higgs!…
I also started traveling back in time, in my own memory and realized that I was born in 1964, the year Higgs, Brout and Englert published a paper predicting the famous boson… Only two years younger than my mother, Peter Higgs had to wait the full length of my own life, 48 odd years, to witness his prediction… I remembered my mother telling me how Einstein taught her brother, my uncle Walter, to ride a bicycle in the thirties in Ostende. My grandfather was a journalist walking away form fascism in Italy. In Ostende he met Albert Einstein, his wife and assistants, about to leave the continent for America and made a series of interviews, never to be published. Afraid for the anti nazi positions expressed by her husband, worried for friends and family still in Germany, Ms Einstein ask for the interview not to be published…
On that 4th of July, physics felt like family.
In July, during the lively Cern student summer, we presented one of my pieces, Spider Galaxies, as an “open run” inside the Cern Cafeteria transformed into a dance studio for the afternoon. It was quite an experience to witness our dance in the « womb » of Cern ! And hear the “sound of the Higgs” that the composer Carla Scaletti has created with some simulated data from the LHC.. Days away from Mr Higgs himself having his coffee in that precise space!
The cafeteria is definitively a fantastic space for showing dance in Cern. It was interesting to be seen from inside and not from outside… Dancing without disturbing the normal life of the lab, being visible only to the ones who were looking…. A great article was written by Michael Doser in Nature about this experiment.
During the summer, I taught a workshop in Senegal and travelled with the company to Mexico for a tour of Spider Galaxies.
After a short holiday, back in September I did a lecture on the history of contemporary dance in the council chamber and we prepared two more site specific interventions @ Cern. One in the Calcul Center and the other in the anti matter experiment…
More site specific@Cern
Le Centre de Calcul: There was so much data flowing around us in the Cern server farm!… The audience was seeing us from the glassed balcony, at a distance. Separated sonically from us performers on the ground, surrounded by the roaring sound of the computer’s thousand’s fans. The audience were “feeling us” as if we were part of the constant vibration of that space. The sensation of distance was enhanced by the special light inside the centre and our fluorescent clothes under the neon lights. Again we merged into the space-time we were visiting… As in the library, workers were passing by, practically undistracted by our silent presence. In the library we were absorbing knowledge, in the calcul centre we were absorbing gigabytes and becoming part of the worldwide grid…
Anti Matter Hall
On the following week we were inside the anti matter hall. A huge industrial space, full of cables and magnificent hi tech machines, liquid helium containers and radioactivity warning sings… Anti matter, particles beyond the invisible!… If there is movement, is there anti movements? We cruised the space and played with perspectives, dancers bounded together using the principle of the strong force… The audience watched us from a balcony, seeing us from above they looked at the space in a way they never looked at it before…
Trough the 4 interventions I have been worried a bout the decorative element of the performances we generated at Cern. I invented a pretext for dance, but what does justifies movement to take place inside a lab? Nothing really but our desire to do so… After completing the 4 performances I realized how essential those movement experiments inside scientific working spaces and labs were. Flows of knowledge inside the library, torrents of datas in the Calcul Center, beam of anti matter in a huge laboratory, even the cafeteria, social epicentre of mathematic minds, we physically explored different functional spaces and felt it in our bones… It was only by crossing our paths in space and time that we, the “physicals” could meet with the “physicists”.
It was now time to take phycists into my laboratory, the dance studio… Which we did. We invited Michael Doser and Nicolas Chanon for three working sessions in my own laboratory, the dance studio!
To be continued…
Welcome!!!! I hope you will enjoy Cern hospitality as much as I did!
/////////////Sound artist Bill Fontana is announced as the new Prix Ars Electronica Collide@CERN artist in residence 2013
Good evening ladies and gentlemen,
Mesdames et messieurs les représentants de l’Etat de Genève, mesdames messieurs les représentants de la Ville de Genève, Monsieur le directeur general du Cern, Ariane,
I am very happy to welcome you at the final lecture of my residency Collide@Cern Geneva.
It has been a truly inspiring time for me to be here.
I had the unique opportunity to live and work in the middle of the largest particle physic laboratory in the world and I would like to thank everybody here @ Cern for making me feel so welcome.
I want to thanks especially Ariane Koeck for being a fantastic facilitator and mediator between art and science. With great sensibility she introduced me to many scientists that have taken some of their precious time to meet with me.
Thanks to all of you, it has been fantastic!
I also want to especially thank everybody @ Cern that helped us organize the different live intervention we did on the site, always a challenge to play out of the box…
For this lecture, I will concentrate on the main lines of my investigation. I will try to show where I stand artistically after the months I have spent in Cern. What I can say is that it is only the beginning as I’ve only had a flavour of what could be possible to develop in relation to dance and physics.
I have discovered a tiny percentage of this fabulous universe of Cern. But what I have “seen”, maybe I should say, “felt”, even in the tiniest experiment always had so many layers and connections between mind, knowledge, abstraction and passion… During my time here, I tried to melt into the space to become one of the natural branch of investigation of this gigantic lab.
I found so interesting in physics the a priori counter intuitive approach in which theory comes before observation… this very interesting zone of tension between knowledge and counter intuition…
What I brought in with me as a choreographer was my embodied knowledge. My ability to trigger thoughts and emotions inside the viewer’s brain, by organizing the movement of bodies in space and time by matter of intuition.
It might seem a bit abstract, but it does work!
Contemporary dance does just this!
It is a trigger to think laterally.
Contemporary dance is based on the juxtaposition of different non narrative performative strategies. What you see is what you think…
You are free to think whatever you want, but there is a structure to guide you, embedded in the piece you are watching. To me, as a spectator, contemporary dance is about watching choreographic structures unfolding and thinking for myself.
What I have learned @ Cern is that fundamental research is… fundamental.
In science but also in the arts.
In Europe, dance is a “production based” activity we don’t search enough and produce too much. But just like in science, we need dedicated labs in contemporary dance. Science shows us the importance of research to feed knowledge. Actually we should not call it “search” or “research” but fundamental knowledge building.
Building fundamental knowledge without the necessity to make a “product” at the end.
But the most important lesson I have learned in Cern is that knowledge is there only to be shared…
Watch the full lecture at: http://www.gillesjobin.com/spip.php?article1123 (in english)
Here is the link to watch my final lecture of the residency program Collide@Cern Geneva.
I have spent more than three months embedded inside the largest particle laboratory in the world and it has been a mind blowing experience!
It will continue as I will be making a piece around the idea of particle physics, hopefully in 2013!
Watch the full lecture at: http://www.gillesjobin.com/spip.php?article1123 (in english)
To celebrate the end of Gilles Jobin’s residency at Cern, the Cie Gilles Jobin and the Orchestre de Chambre de Genève are very happy to offer 20 invitations for Cern staff to the opening of the season of the OCG at the BFM on the 2nd of October.
Cie Gilles Jobin will be presenting at 19h the piece Shaker Loops, with Susana Panades Diaz, Isabelle Rigat and Gilles Jobin, music John Adams performed by the OCG under the direction of David Greilsammer.
After the 35mn piece of John Adams, the evening continues with a program of conert by OCG Mozart, Beethoven, Marais and Pelzel.
To apply for the invitation please write to Melanie@gillesjobin.com. The first twenty persons to reply will receive one invitation! Please mention “Shaker Loops Invitation” on the email.
Detail info on the OCG website
Ariane Koek, head of arts development at CERN, the European Organisation for Nuclear Research, on how arts and science can co-exist.
Dear Arts Interested at CERN
Please find enclosed details of the final intervention by Collide@CERN choreographer in residence, Gilles Jobin.
With thanks to the anti matter experiments in Building 193, there will be an intervention this coming Wednesday between 12.30-1400.
See what happens when dancers enter the anti matter experimental hall….
GILLES JOBIN DANCE CONFERENCE
La Ribot website
Motion Bank, a Forsythe Company project
Cie Gilles Jobin Vimeo channel
full length and excerpts
Marlon Barrio’s social network with a great collection of first hand interview produced by Dancetech TV and full length pieces.
Merce Cunningham Dance Company
A fantastic collection of interviews, extract of pieces etc…
Rare films. oldies and documents
French web tv with many dance videos, Pina Baush etc…
DOCUMENTARY ON GILLES JOBIN’S WORK
Le Voyage de Moebius (2001) Luc Peter
52 mn Documentary following the creation of The Moebius Strip
with english subtitles
Préliminaires: Gilles Jobin, chorégraphe (2008)
26 mn Swiss french TV on the creation of Black Swan
La Ribot Distinguida (2003) Luc Peter
60mn dpcumentary on the “piezas Distinguidas ” by La Ribot
INFO AND RESOURCES
Centre National de la Danse Paris
Dance studios and ressource center in Paris, library etc..
Association Vaudoise de Danse Contemporaine
Social network of the profesional dancer of the lake geneva region
A Cie Gilles Jobin’s project: Mapping of the context for contemporary dance in South America
CONTEMPORARY DANCE PROGRAMS IN GENEVA
La Bâtie Festival de Genève
Association Danse Contemporaine Genève (ADC)
Dance space in Geneva with a regular program of contemporary dance
Theatre de l’Usine Genève
Alternative space with a regular program of cutting edge and newcomers
Exibition “je danse donc je suis” Centre Pompidou Paris
Relation between visual art and contemporary dance
Exibition: Move choreographing you
Hayward Gallery London, Seoul, Munich…
Choreographers as visual artists, audience as actor of the dance
Dance is a Weapon/CND Paris
1930′s political and socially engaged american choreographers
Journal de l’ADC Genève (french) (gratuit)
Danser Magazine (french-not distributed in CH)
Cutting edge Arts vivants magazine
Larousse – Dictionnaire de la danse*
The largest dictionnary for dance (in french)
Exausting Dance: Performance and the politic of movement
Dance (Whitechapel: Documents of Contemporary Art)
Susan Buirge (American choreographer’s auto biography)
Une Vie dans l’Espace de la Danse
Philippe Noisette (french dance critique)*
Talk About Contemproary Dance (english and french version)
Jonhathan Burrows (english choreographer)
A Choreographer’s handbook
La Ribot – Parcours d’artiste*
(by La Ribot, engish and french, with text from André Lepecki, Laurent Goumarre, Adrian Heathfield, José A. Sánchez et Gerald Siegmund )
François Frimat (french philosophe)*
Qu’est ce que la danse contemporaine) Politiques de l’hybride
Rosita Boisseau (french dance critic)*
Panorama de la danse contmeporaine (100 hundred choreographers)
Laurence Louppe (frech dance theorist)
Poetique de la danse contemproaine
Danser avec le IIIème Reich
Les Danses du Temps
Un questionnement philosophique et artistique sur la singularité de la notion de temps en danse contemporaine
Dance is a Weapon / CND exibition catalogue
Terpsichore en Basket, Post Modern Dance
Valeska Gert (German choreographer 1930′s- auto biography)
Je Suis Une Sorcière
L’éveil des modernités-Une histoire culturelle de la danse
And many more interesting book at the Paris CND website.
* Gilles Jobin mentioned in book
Gilles Jobin music for his dance pieces
Franz Treichler and The Young Gods
Double Deux + Delicado (2007)
GILLES JOBIN’S BIBLIOGRAPHY
Erin Brannigan, “DanceFilm – Choreography and the Moving Image”, Page 56, Editions Oxford University Press, 2011 – ISBN 978-0-19-536723-2, ISBN – 978-0-19-536724-9
François Frimat, “Qu’est-ce que la danse contemporaine ?”, Editions Presses Universitaires de France – PUF, 2011 – ISBN-10 : 2130576990, ISBN-13 : 978-2130576990
￼ Philippe Noisette, “Danse contemporaine mode d’emploi”, Pages 186, 220 – Editions Flammarion, 2010 – ISBN : 978-2-0812-3748-3
￼ Jean-Paul Montanari, “Montpellier Danse(s), trente ans de création”, Pages 136-137 – Editions Festival Montpellier Danse – Actes Sud, 2010 – ISBN 978-2-7427-9100-2
￼ Alain Perroux et Jean-Marie Blanchard, “Grand Théâtre de Genève 2001-2009, cent spectacles pour un début de siècle”, Pages 138-141 – Editions La Baconnière Arts, 2009 – ISBN 978-2-915306-33-0
￼ Philippe Le Moal, “Dictionnaire de la Danse”, Page 227 – Edition Larousse, 2008 – ISBN 978-2-03-583335-8
￼ Rosita Boisseau, “Panorama de la danse contemporaine – 100 chorégraphes” – 2e édition (éd. augmentée), Editions Textuel, Paris, 2008 – ISBN 978-2845972964
￼ Collectif, “Les Carnets du Paysage N 13-14 : Comme une danse”, Editions Actes sud, 2007 – ISBN 978-2-7427-5671-1
￼ Rosita Boisseau, “Panorama de la danse contemporaine – 90 chorégraphes” – 1ère édition, Pages 286-293 – Editions Textuel, Paris, 2006 – ISBN 2-84597-188-5
￼ Association Vaudoise de Danse Contemporaine, Effervescences n°7 “20 ans de danse contemporaine dans le canton de Vaud”, Page 48-51 – Editions AVDC, Lausanne 2006 – ISBN 978-2-8399-0267-0
￼ Anne Boisnière et Catherine Kintler, “Approche philosophique du geste dansé : de l’improvisation à la performance”, Pages 185-193 – Editions Septentrion, Lille 2006 – ISBN 2-85939-937-2
￼ Pierre -Louis Chantre, “Genève en mouvement”, Pages 106-113 – Collection “Villes en mouvement”, Editions Autrement, 2005 – ISBN 2-7467-0724-1
￼ Philippe Noisette, “Le corps et la danse”, Page 120 – Editions de La Martinière, Paris 2005 – ISBN 2-7324-3229-6
￼ Communauté de Madrid – Conseil de la Culture et des Sports, “Madrid en Danza 20 años”, Page 35 – Madrid, 2005
￼ Enora Rivière, “Ecrire sur une oeuvre après l’avoir dansée : ou la question de l’analyse d’oeuvre depuis la posture de l’interprète”, 2004
￼ Dominique Frétard, “Danse et non-Danse”, Page 139 – Editions Cercle d’Art, Paris 2004 – ISBN 2-7022-0747-2
￼ Laurent Goumarre, Gilles Jobin, Juan L. Moraza et José Antonio Sanchez, “Colloque : Cuerpos sobre blanco – Cuerpos imagen en la nueva danza”, Cuenca, 2003
￼ José Antonio Sanchez, “Cuerpos sobre blanco”, Page 227 – Cuenca, 2003 – ISBN : 978-84-8427-267-0
￼ Manuel Vason, Lois Keidan, Ron Athey, “Exposures”, Page 14 – Black Dog, London 2002 – ISBN : 9781901033878
￼ Bertrand Tappolet, Sylvianne Dupuis, Laurent Goumarre, “Gilles Jobin”, Collection Cahiers d’artistes, Pro Helvetia Zurich 2002 – ISBN 3-907622-89-8
￼ Annie Suquet, “Le silence de la grille”, Cahiers de l’Arsenic 3, Lausanne 2001
￼ Stéphane Bonvin, John Geissler, Jean-Pierre Pastori, “La Danse en Suisse”, Pages 55 – Pro Helvetia – Zurich 2000 – ISBN 3-907622-42-1
￼ Anne Bony, “Les années 90 d’Anne Bony”, Pages 245-246 – Editions du Regard, Paris 2000 – ISBN 2-84105-117-X
￼ Christophe Wavelet, “Seule la violence aide où la violence règne”, Pages 12-35 – Cahiers de l’Arsenic 2, Lausanne 2000
￼ Thierry Spicher, Mark de Putter, Laurent Goumarre, “Colloque : Espacios para la nueva danza”, Desviaciones, Cuenca 1999
￼ Gilles Jobin, “Tampoco hay para tanto : al fin y al cabo yo lo único que intento es hacer arte”, Desviaciones, Cuenca 1999
￼ José Antonio Sanchez, “Pensando con el cuerpo”, Desviaciones, Cuenca 1999
Here my recommendation for La Batie Festival. Click on the image for direct link to La Batie’s website
Gilles Jobin Company’s dancer Susana Panadez Dias collaborates with two South African Choreographers and two musicians. A great creation, and for what I have seen in rehearsals.. Not to be missed!
My congolese friend Faustin Linekula is probably one of the most interesting african contemporary choreographer. His work deals with questions of identity and his an expression of urban africa. I have not seen this piece, but I will be there because it is always interesting. Contemporary art made in Africa!
Slightly overrated if unique in his style, Jérôme Bel, french choreographer, has spent his last 10 years deconstructing contemporary dance. You hate it or love it, I find myself in the middle, but his work is always interesting. In this production he works with Theater Hora a disabled company. For what I heard the piece is very interesting… A must seen for better understanding new tendencies in contemporary dance and theater.
Peeping Tom is a dance company form Belgium that is very popular. They do a very theatrical work that audiences all over the world find captivating due to the level of great interpreters on stage. In my selection it is the most mainstream choice… for the record, I was at dance school with company leader Frank Chartier about one hundred years ago, which happens to be the uncle of our dancer Louis Clément Da Costa! (seen in open rehearsal of Spider Galaxies@cern in July)… Just like physics, dance is small world!
Marie Caroline Hominal, ex company dancer still working with Geneva based choreographer La Ribot is now working on her own creation for some years. In this project she works with her brother, visual artist and shooting star David Hominal . I have not seen this durational piece, but I will do! It is worth going and have a look, and for what I’ve heard stay at least 40mn out of the 4 hours…
In theater, as Cern members you might be attracted by local director Dorian Rossel‘s piece Cosmos? I have not seen or have heard, so you go on your own risks!
Musician POL does his thing during La Bâtie. He was running the sound on KYMA system during the open rehersal of Spider Galxies we did at the cafeteria this summer. Heavy duty sound, this is next level electronic music!
I always missed Canadian choreographer Benoit Lachambre, but I won’t this time! Amazing interpreter, he danced for Meg Stuart between others, his work his quite radical in its texture. Accompanied by talented multi-instrumentalist Hahn Rowe, puts his body into a state of perpetual transformation
Theater, the master Heiner Goebbels, nothing to say, a master…
Linah Saneh and Rabih Mroué…. Fantastic work from Beyrouth. I have not seen this piece, but all they do is so interesting! Very much based on the life of being lebanese in a contradictory country… See reality in a different and humorous way! Lina and Rabih offer a double reflexion on the power of Facebook social network and on the Lebanon’s political paralysis… A must see!
And there is more shows to discover… Trust your intuition!
The Festival de La Bâtie is about to open! A great opportunity to see some nice cutting edge dance pieces from all over the world.
You might have seen Cie Gilles Jobin’s dancer Susana around Cern library as a Strangels or during the open rehersal of Spider Galaxies…
Do not miss S.P.A.C.E the piece Susana Panadez Dias created with South African dancers and choreographers Hector Thami Manekehla, and Thabiso Heccius Pule in a residency in Soweto and in the company’s Studios 44 in Geneva. If you come the 3rd of September, at 19h30 we make a presentation of our south-south project prior to the show.
Go to our Flickr account to see rehersals photos at Studios 44
Visit Cie Gilles Jobin Vimeo channel to see full length videos and excerpts of most of Gilles Jobin’s pieces.
Article dans The Guardian sur les Strangels du CERN de la Cie Gilles Jobin
Article dans Le Courrier International web et papier juillet-août sur les Strangels du CERN de la Cie Gilles Jobin
Article dans The Huffington Post sur les Strangels du CERN de la Cie Gilles Jobin
Le son du Boson de Higgs, dévelloppé pour le spectacle Spider Galaxies de la Cie Gilles Jobin par Carla Scaletti
From the Higgs to the Sound of Senegalese drums sur son blog du CERN Gilles Jobin nous raconte son workshop au Sénégal.
Article dans 15min, Lituanie sur les Strangels du CERN de la Cie Gilles Jobin
Article dans DANSER Magazine web sur la résidence de Gilles Jobin au CERN
Article dans DANSER Magazine papier juillet août sur la résidence de Gilles Jobin au CERN
Article dans Le Courrier papier et web Genève sur Gilles Jobin et Joao Paquenao, partenaire d’inspiration
The 31st of July we presented a ful length dress rehersal of one of my latest creation Spider Galaxies. The idea being to invite scientist into our labs, the dance space…
The restaurent of cafeteria 1 was turned into a beautiful dance studio for the afternoon. I am very hapy because one of the idea of my initial project was to find spaces to present dance@cern. The Cafeteria offered a nice 8mx11m dance space and enough room for about 50 to 100 people.
We received some nice feedback from scientists. It is a unique experience to get to see dancers from so close! It is like seeing top class olympic athletes practicing in a few meters away from you!
Phycicist Panos Charitos feedback
“First of all I would like to thank you because I thought this was a wonderful performance. Indeed I was never expecting that all these beautiful feelings and emotions could ever come out from a machine like LHC.
Loneliness and partnership, fear and joy, trembling and tranquility … human’s basic instincts were all there (at least in my eyes) and I am stunned by the fact that they were all inspired from a machine that collides particles in our effort to grasp the fundamental laws of nature, the evolution of our universe.
Although I am not an expert in contemporary dance this was one of the most beautiful performances I have ever seen. I would also like to share some of my thoughts regarding the penultimate(?) scene where three of the dancers are lying on the floor, spotting the body of a dancer with their laser-pointers. This made me to recall the Lacanian teaching about the body. Lacan distinguished three basic possibilities of experiencing the body, namely the symbolic (or scientific), the imaginary (or ideal) and the real body and stated that the real body is only emerging in our efforts to symbolize or idealize the body which are bound to remain incomplete and fragile.
I tend to agree with Lacanians (but interestly with modern theologians) that the 21st century will mark the return of the body. A body that has been neglected and hyper-mediated over the 20th century. So, that part of the choreography reminded me how the light produced at LHC, the beams travelling at the speed of light , the light that lies in the cathedral of science (so important for science from cosmology to communications) has marked our body – perhaps in a way that we could never have a return to the “real” body…and yet opens a space of aporia and heterogeneity.
To the extend that choreography is concerned with the human body, Jobin’s latest intervention reminded us the role and the importance of science and challenges us to rethink what the “real body” is and how it can be rediscovered. Congratulations!”
Can you dance in CERN? There is many spaces around… The search has started…